Just my 2 cents for what it's worth....
I honestly do not understand how accuracy/neutrality has become so stigmatized in this hobby as to be synonymous with "lifeless" and "boring". Seems to me that these folks need to find more exciting music.
I admit that true neutrality has become a myth of sorts, and it seems to be a moving target given different mastering techniques/priorities and input/output chains. But as a listener, I don't get how striving to have a neutral playback chain (or as close as we can), to remove the playback as a variable of coloration, and to get as close as possible to the engineer's (+artist's) intent can be considered a detriment to the enjoyment of the music. There is nothing as visceral, as engaging, as involving, as utterly enjoyable to me as a well-mastered recording played back through a system that has little coloration. To me, that is having that transparency -- that, having-the-equipment-melt-away feeling -- at its very finest. You don't get jarred back to reality with colorations on top of the original recording.
Sure, you can make a case that perhaps it's nice to have colored gear to mask a recording's deficiencies. I can see this being preferred if you listen to primarily poor recordings. For example, I listen to a lot of poorly-mastered, compressed modern indie, so I typically gravitate toward the LCD-2 in this case because the shelved treble, while being a less-than-ideal coloration, meshes better with these particular recordings (being less-than-ideal themselves). After all, we can't listen to pristine masters all of the time -- as our music tastes dictate the recordings we listen to, not the engineer.
But even having said that, I don't understand how preferring specific colorations in specific instances has evolved into neutrality=boring which is utterly ridiculous to me.